Valmiki Ramayana 2.10.16: Ayodhya Kanda, Sarga 10, Shloka 16
क्रोधागारप्रवेशः — Entry into the Chamber of Wrath
Kaikeyī’s Protest
शुकबर्हिणसङ्घुष्टं क्रौञ्चहंसरुतायुतम्।।2.10.12।।वादित्ररवसङ्घुष्टं कुब्जा वामनिकायुतम्।लतागृहैश्चित्रगृहैश्चम्पकाशोकशोभितैः।।2.10.13।।दान्तराजतसौवर्णवेदिकाभि स्समायुतम्।नित्यपुष्पफलैर्वृक्षैर्वापीभिश्चोपशोभितम्।।2.10.14।।दान्तरजतसौवर्णैस्संवृतं परमासनैः।विविधैरन्नपानैश्च भक्ष्यैश्च विविधैरपि।।2.10.15।।उपपन्नं महार्हैश्च भूषितैस्त्रिदिवोपमम्।तत्प्रविश्य महाराजस्स्वमन्तः पुरमृद्धिमत्।।2.10.16।।न ददर्श प्रियां राजा कैकेयीं शयनोत्तमे।
śukabarhiṇasaṅghuṣṭaṃ krauñcahaṃsarutāyutam |
vāditraravasaṅghuṣṭaṃ kubjāvāmanikāyutam |
latāgṛhaiś citragṛhaiś campakāśokaśobhitaiḥ |
dāntarājatasauvarṇavedikābhis samāyutam |
nityapuṣpaphalair vṛkṣair vāpībhiś copasobhitam |
dāntarajatasauvarṇaiḥ saṃvṛtaṃ paramāsanaiḥ |
vividhair annapānaiś ca bhakṣyaiś ca vividhair api |
upapannaṃ mahārhaiś ca bhūṣitais tridivopamam |
tat praviśya mahārājaḥ svam antaḥpuram ṛddhimat |
na dadarśa priyāṃ rājā kaikeyīṃ śayanottame ||
大王がカイケーイーの栄えある奥御殿に入ると、そこは鸚鵡と孔雀の声に満ち、クラウンチャ鳥と白鳥の鳴き交わしが響き、楽器の音がこだまして、せむし女や小人たちが侍っていた。蔓のあずまやや彩絵の御殿が輝き、チャンパカとアショーカの樹々が美を添え、象牙・銀・金で飾られた壇が設けられていた。四季を通じて花と実を結ぶ樹々と池がさらに荘厳を増し、象牙・銀・金の最上の座が整えられ、さまざまな食と飲み物、珍味が尽くされていた。宝飾もまた貴く、天界にも似たるさまであった。だが王は、最上の寝台に横たわる愛しきカイケーイーの姿を見いだせなかった。
The maharaja entered the inner apartment of Kaikeyi's prosperous abode filled with parrots and peacocks, reverberating with cries of kraunchas and swans and sounds of musical instruments attended with hunchbacks and dwarfs decorated with champak and ashoka trees, bowers surrounded with creepers, picture-galleries, altars and sofas embellished with ivory, gold and silver. It was shining with pools and trees bearing flowers and fruits in all seasons. Various kinds of food, drinks and eatables were kept ready. With excellent decorations that abode of Kaikeyi resembled heaven. (But) the king did not see his beloved Kaikeyi in her best bed.
FAQs
External splendor cannot substitute for inner dharma: a heaven-like palace still becomes the stage for moral collapse when truthfulness and right intention are eclipsed.
Daśaratha enters Kaikeyī’s richly appointed quarters expecting a joyful meeting, but finds her absent from her bed—signaling that something is wrong and setting up the confrontation to come.
Implicitly, the virtue of vigilance and discernment in household and governance: the scene contrasts visible prosperity with hidden emotional and ethical turmoil.
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